document_title: Statue of Liberty

question_text: where did the idea for the statue of liberty originate

question_tokens: where did the idea for the statue of liberty originate

text: Statue of Liberty

text: Design and construction process

text: Origin

text: According to the National Park Service, the idea for the Statue of Liberty was first proposed by Édouard René de Laboulaye the president of the French Anti-Slavery Society and a prominent and important political thinker of his time. The project is traced to a mid-1865 conversation between de Laboulaye, a staunch abolitionist and Frédéric Bartholdi, a sculptor. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, is supposed to have said: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations."[7] The National Park Service, in a 2000 report, however, deemed this a legend traced to an 1885 fundraising pamphlet, and that the statue was most likely conceived in 1870.[8] In another essay on their website, the Park Service suggested that Laboulaye was minded to honor the Union victory and its consequences, "With the abolition of slavery and the Union's victory in the Civil War in 1865, Laboulaye's wishes of freedom and democracy were turning into a reality in the United States. In order to honor these achievements, Laboulaye proposed that a gift be built for the United States on behalf of France. Laboulaye hoped that by calling attention to the recent achievements of the United States, the French people would be inspired to call for their own democracy in the face of a repressive monarchy."[9]

text: According to sculptor Frédéric Auguste Bartholdi, who later recounted the story, Laboulaye's comment was not intended as a proposal, but it inspired Bartholdi.[7] Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Bartholdi was in any event busy with other possible projects; in the late 1860s, he approached Isma'il Pasha, Khedive of Egypt, a plan to build Progress or Egypt Carrying the Light to Asia,[10] a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.[11]

text: Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France.[7] As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans.[12] In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.[13]

text: Arriving at New York Harbor, Bartholdi focused on Bedloe's Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states."[14] As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue.[15] Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project.[13] But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.[16]

text: Bartholdi had made a first model of his concept in 1870.[17] The son of a friend of Bartholdi's, American artist John LaFarge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge's Rhode Island studio. Bartholdi continued to develop the concept following his return to France.[17] He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.[18]

text: Design, style, and symbolism

text: Bartholdi and Laboulaye considered how best to express the idea of American liberty.[19] In early American history, two female figures were frequently used as cultural symbols of the nation.[20] One of these symbols, the personified Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Marianne came to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans.[20] The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time,[19] and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.[19]

text: Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol.[19] A figure of Liberty was also depicted on the Great Seal of France.[19] However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830). In this painting, which commemorates France's Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen.[20] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[20] Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.[21]

text: Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet.[22] Delacroix's figure wears a pileus,[20] and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head.[23] In so doing, he avoided a reference to Marianne, who invariably wears a pileus.[24] The seven rays form a halo or aureole.[25] They evoke the sun, the seven seas, and the seven continents,[26] and represent another means, besides the torch, whereby Liberty enlightens the world.[21]

text: Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother,[27] but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact.[28] He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose.[21] Bartholdi wrote of his technique:

text: The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.[29]

text: Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does rise over a broken chain, half-hidden by her robes and difficult to see from the ground.[23] Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata,[30] used to evoke the concept of law.[31] Though Bartholdi greatly admired the United States Constitution, he chose to inscribe "JULY IV MDCCLXXVI" on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.[30]

text: Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project.[28] As chief engineer,[28] Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored.[32] After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.[28][33] An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy's Sancarlone and the German statue of Arminius, both made with the same method.[34]

text: Announcement and early work

text: By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition in Philadelphia led Laboulaye to decide it was time to seek public support.[35] In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World.[36] The French would finance the statue; Americans would be expected to pay for the pedestal.[37] The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia.[36] French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life.[37] Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.[36]

text: Despite its initial focus on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway,[38] though this has not been conclusively determined after testing samples.[39] According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 90,800 kilos (200,000 pounds) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 58,100 kilos (128,000 pounds) of copper.[40]

text: Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop.[41] In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition,[42] and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities.[43] The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi.[44] Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds.[45] After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.[45]

text: During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union.[46] Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia.[47] The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee".[48] One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States.[46] On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.[49]

text: Construction in France

text: On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered.[50] The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.[51]

text: The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier.[52] The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel.[50] Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars[28] which culminated in a mesh of metal straps, known as "saddles", that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually.[53][54] To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.[55]

text: Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown.[56] Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long.[57] As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure.[58] The components of the pylon tower were built in the Eiffel factory in the nearby Parisian suburb of Levallois-Perret.[59]

text: The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.[60]

text: In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton.[61] The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors.[62] Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban.[63] By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue.[64] Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York.[65] The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.[66]

text: The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete.[67] There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue.[67] There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen.[68] Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once."[69] The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances."[70] Faced with these criticisms, the American committees took little action for several years.[70]

text: Design

text: The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station.[71] The fortifications of the structure were in the shape of an eleven-point star. The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean.[72] In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months.[73] He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).[74]

text: Hunt's pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture.[28] The large mass is fragmented with architectural detail, in order to focus attention on the statue.[74] In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 U.S. states), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises.[75] According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty".[74] The committee hired former army General Charles Pomeroy Stone to oversee the construction work.[76] Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal's cornerstone was laid in 1884.[73] In Hunt's original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks.[77][78] This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut.[79] The concrete mass was the largest poured to that time.[78]

text: Norwegian immigrant civil engineer Joachim Goschen Giæver designed the structural framework for the Statue of Liberty. His work involved design computations, detailed fabrication and construction drawings, and oversight of construction. In completing his engineering for the statue's frame, Giæver worked from drawings and sketches produced by Gustave Eiffel.[80]

text: Fundraising

text: Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events.[81] As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled anti-Semitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue.[82] The resulting sonnet, "The New Colossus", including the iconic lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in its base.[83]

text: Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.[84]

text: Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000—the equivalent of $2.3 million today.[85] Pulitzer pledged to print the name of every contributor, no matter how small the amount given.[86] The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial."[87] One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with."[88] Another dollar was given by a "lonely and very aged woman."[87] Residents of a home for alcoholics in New York's rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons.[89] A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.[87] As the donations flooded in, the committee resumed work on the pedestal.[90]

text: Construction

text: On June 17, 1885, the French steamer Isère, laden with the Statue of Liberty, reached the New York port safely. New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère.[91] [92] After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar.[93]

text: Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel I-beams within the concrete pedestal and assembled.[94] Once this was done, the sections of skin were carefully attached.[95] Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from ropes while installing the skin sections. Nevertheless, no one died during the construction.[96] Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch—which was covered with gold leaf—and placed the lights inside them.[97] A power plant was installed on the island to light the torch and for other electrical needs.[98] After the skin was completed, renowned landscape architect Frederick Law Olmsted, co-designer of New York's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication.[99]

text: Dedication

text: A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event.[100] On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to the Battery at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.[101]

text: A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication.[102] De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. A French flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address.[101] President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world".[103] Bartholdi, observed near the dais, was called upon to speak, but he declined. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.[104]

text: No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote.[103] A scheduled fireworks display was postponed until November 1 because of poor weather.[105]

text: Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":

text: "Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.[106]

text: After dedication

text: Lighthouse Board and War Department (1886–1933)

text: When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon."[98] Bartholdi suggested gilding the statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch's effect; in spite of its efforts, the statue remained virtually invisible at night. When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel's design.[98] In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue's transfer to the War Department, as it had proved useless as a lighthouse.[107] A unit of the Army Signal Corps was stationed on Bedloe's Island until 1923, after which military police remained there while the island was under military jurisdiction.[108]

text: The statue rapidly became a landmark. Many immigrants who entered through New York saw it as a welcoming sight. Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled,

text: I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.[109]

text: Originally, the statue was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue.[110] Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $1,673,969 in 2016) for various repairs, and to paint the statue both inside and out.[111] There was considerable public protest against the proposed exterior painting.[112] The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful."[113] The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.[113]

text: On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated, and seven people were killed. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about US$100,000 (equivalent to $2,200,917 in 2016). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.[104]

text: That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise US$30,000 (equivalent to $660,275 in 2016) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.[114]

text: After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty Bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.[115]

text: In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a National Monument.[107] The only successful suicide in the statue's history occurred five years later, when a man climbed out of one of the windows in the crown and jumped to his death, glancing off the statue's breast and landing on the base.[116]

text: Early National Park Service years (1933–1982)

text: In 1933, President Franklin Roosevelt ordered the statue to be transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe's Island.[107] With the Army's departure, the NPS began to transform the island into a park.[117] The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue's halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete;[118] the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal.[119] The statue was closed to the public from May until December 1938.[118]

text: During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed "dot-dot-dot-dash", the Morse code for V, for victory. New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night.[120] In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.[119]

text: In 1956, an Act of Congress officially renamed Bedloe's Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it.[121] Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965.[107] In 1972, the immigration museum, in the statue's base, was finally opened in a ceremony led by President Richard Nixon. The museum's backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.[94]

text: In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women's New York chapter draped an enormous banner over a railing which read "WOMEN OF THE WORLD UNITE!"[122][123]

text: Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a Federal Court order.[124] The statue was also several times taken over briefly by demonstrators publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada. Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.[125]

text: A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island.[126] The day concluded with a spectacular display of fireworks near the statue.[127]

text: Renovation and rededication (1982–2000)

text: The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986.[128] In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure. In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced.[129] Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.[130]

text: In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work.[131] Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations.[132] The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign. A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.[133]

text: In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world's largest free-standing scaffold,[28] which obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. Blasting with baking soda powder removed the tar without further damaging the copper.[134] The restorers' work was hampered by the asbestos-based substance that Bartholdi had used—ineffectively, as inspections showed—to prevent galvanic corrosion. Workers within the statue had to wear protective gear, dubbed "moon suits", with self-contained breathing circuits.[135] Larger holes in the copper skin were repaired, and new copper was added where necessary.[136] The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue's; in exchange, the laboratory was provided some of the old copper skin for testing.[137] The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi's unaltered torch.[138] Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead.[139] The original torch was removed and replaced in 1986 with the current one, whose flame is covered in 24-carat gold.[31] The torch reflects the sun's rays in daytime and is lighted by floodlights at night.[31]

text: The entire puddled iron armature designed by Gustave Eiffel was replaced. Low-carbon corrosion-resistant stainless steel bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves.[140] To prevent the ray and arm making contact, the ray was realigned by several degrees.[141] The lighting was again replaced—night-time illumination subsequently came from metal-halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details.[142] Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation.[143] A modern elevator was installed, allowing handicapped access to the observation area of the pedestal.[144] An emergency elevator was installed within the statue, reaching up to the level of the shoulder.[145]

text: July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail,[146] and the statue was reopened to the public on July 5.[147] In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."[146]

text: Closures and reopenings (2001–present)

text: Following the September 11 attacks, the statue and Liberty Island were immediately closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004,[147] but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of the Bush administration.[148] New York Congressman Anthony Weiner made the statue's reopening a personal crusade.[149] On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.[148]

text: The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code. The statue was reopened on October 28, 2012,[1][150][151] only to close again a day later due to Hurricane Sandy.[152] Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty Island and Ellis Island, severely damaging the dock used by the ferries bearing visitors to the statue. On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done.[153] Due to lack of electricity on Liberty Island, a generator was installed to power temporary floodlights to illuminate the statue at night. The superintendent of Statue of Liberty National Monument, David Luchsinger, whose home on the island was severely damaged, stated that it would be "optimistically ... months" before the island was reopened to the public.[154] The statue and Liberty Island reopened to the public on July 4, 2013.[155] Ellis Island remained closed for repairs for several more months but reopened in late October 2013.[156] For part of October 2013, Liberty Island was closed to the public due to the United States federal government shutdown of 2013, along with other federally funded museums, parks, monuments, construction projects and buildings.[157]

text: On October 7, 2016, construction started on a new Statue of Liberty museum on Liberty Island. The new $70 million, 26,000-square-foot (2,400 m2) museum will be able to accommodate all of the island's visitors when it opens in 2019, as opposed to the current museum, which only 20% of the island's visitors can visit.[158] The original torch will be relocated here, and in addition to exhibits relating to the statue's construction and history, there will be a theater where visitors can watch an aerial view of the statue.[158][159] The museum, designed by FXFOWLE Architects, will integrate with the parkland around it.[159] It is being funded privately by Diane von Fürstenberg, Michael Bloomberg, Jeff Bezos, Coca-Cola, NBCUniversal, the family of Laurence Tisch and Preston Robert Tisch, Mellody Hobson, and George Lucas.[160] Von Fürstenberg heads the fundraising for the museum, and the project had garnered more than $40 million in fundraising as of groundbreaking.[159]

text: Access and attributes

text: Location and tourism

text: The statue is situated in Upper New York Bay on Liberty Island south of Ellis Island, which together comprise the Statue of Liberty National Monument. Both islands were ceded by New York to the federal government in 1800.[161] As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay's midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Liberty Island is one of the islands that are part of the borough of Manhattan in New York. Land created by reclamation added to the 2.3 acres (0.93 ha) original island at Ellis Island is New Jersey territory.[162]

text: No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953.[163] The ferries, which depart from Liberty State Park in Jersey City and Battery Park in Lower Manhattan, also stop at Ellis Island when it is open to the public, making a combined trip possible.[164] All ferry riders are subject to security screening, similar to airport procedures, prior to boarding.[165] Visitors intending to enter the statue's base and pedestal must obtain a complimentary museum/pedestal ticket along with their ferry ticket.[166] Those wishing to climb the staircase within the statue to the crown purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day are permitted to ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.[167]

text: Inscriptions, plaques, and dedications

text: There are several plaques and dedicatory tablets on or near the Statue of Liberty.

text:
A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.). [168]
A presentation tablet, also bearing Bartholdi's name, declares the statue is a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."[168]
A tablet placed by the New York committee commemorates the fundraising done to build the pedestal.[168]
The cornerstone bears a plaque placed by the Freemasons.[168]
In 1903, a bronze tablet that bears the text of Emma Lazarus's sonnet, "The New Colossus" (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; today it resides in the Statue of Liberty Museum, in the base.[168]
"The New Colossus" tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.[168]

text: A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.[169]

text: UNESCO World Heritage Site

text: In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site. The UNESCO "Statement of Significance" describes the statue as a "masterpiece of the human spirit" that "endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity."[170]

text: Physical characteristics

text:
Feature[72]
U.S.
Metric

Height of copper statue
151 ft 1 in
46 m

Foundation of pedestal (ground level) to tip of torch
305 ft 1 in
93 m

Heel to top of head
111 ft 1 in
34 m

Height of hand
16 ft 5 in
5 m

Index finger
8 ft 1 in
2.44 m

Circumference at second joint
3 ft 6 in
1.07 m

Head from chin to cranium
17 ft 3 in
5.26 m

Head thickness from ear to ear
10 ft 0 in
3.05 m

Distance across the eye
2 ft 6 in
0.76 m

Length of nose
4 ft 6 in
1.48 m

Right arm length
42 ft 0 in
12.8 m

Right arm greatest thickness
12 ft 0 in
3.66 m

Thickness of waist
35 ft 0 in
10.67 m

Width of mouth
3 ft 0 in
0.91 m

Tablet, length
23 ft 7 in
7.19 m

Tablet, width
13 ft 7 in
4.14 m

Tablet, thickness
2 ft 0 in
0.61 m

Height of pedestal
89 ft 0 in
27.13 m

Height of foundation
65 ft 0 in
19.81 m

Weight of copper used in statue
60,000 pounds
27.22 tonnes

Weight of steel used in statue
250,000 pounds
113.4 tonnes

Total weight of statue
450,000 pounds
204.1 tonnes

Thickness of copper sheeting
3/32 of an inch
2.4 mm

text: Depictions

text: Hundreds of replicas of the Statue of Liberty are displayed worldwide.[171] A smaller version of the statue, one-fourth the height of the original, was given by the American community in Paris to that city. It now stands on the Île aux Cygnes, facing west toward her larger sister.[171] A replica 30 feet (9.1 m) tall stood atop the Liberty Warehouse on West 64th Street in Manhattan for many years;[171] it now resides at the Brooklyn Museum.[172] In a patriotic tribute, the Boy Scouts of America, as part of their Strengthen the Arm of Liberty campaign in 1949–1952, donated about two hundred replicas of the statue, made of stamped copper and 100 inches (2,500 mm) in height, to states and municipalities across the United States.[173] Though not a true replica, the statue known as the Goddess of Democracy temporarily erected during the Tiananmen Square protests of 1989 was similarly inspired by French democratic traditions—the sculptors took care to avoid a direct imitation of the Statue of Liberty.[174] Among other recreations of New York City structures, a replica of the statue is part of the exterior of the New York-New York Hotel and Casino in Las Vegas.[175]

text: As an American icon, the Statue of Liberty has been depicted on the country's coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York's 2001 entry in the state quarters series.[176] An image of the statue was chosen for the American Eagle platinum bullion coins in 1997, and it was placed on the reverse, or tails, side of the Presidential Dollar series of circulating coins.[26] Two images of the statue's torch appear on the current ten-dollar bill.[177] The statue's intended photographic depiction on a 2010 forever stamp proved instead to be of the replica at the Las Vegas casino.[178]

text: Depictions of the statue have been used by many regional institutions. Between 1986[179] and 2000,[180] New York State issued license plates with an outline of the statue to either the front or the side of the serial number.[179][180] The Women's National Basketball Association's New York Liberty use both the statue's name and its image in their logo, in which the torch's flame doubles as a basketball.[181] The New York Rangers of the National Hockey League depicted the statue's head on their third jersey, beginning in 1997.[182] The National Collegiate Athletic Association's 1996 Men's Basketball Final Four, played at New Jersey's Meadowlands Sports Complex, featured the statue in its logo.[183] The Libertarian Party of the United States uses the statue in its emblem.[184]

text: The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith's song "Courtesy of the Red, White and Blue (The Angry American)", and in opposition, appearing on the cover of the Dead Kennedys' album Bedtime for Democracy, which protested the Reagan administration.[185] In film, the torch is the setting for the climax of director Alfred Hitchcock's 1942 movie Saboteur.[186] The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand.[185][187] It is knocked over in the science-fiction film Independence Day [188] and in Cloverfield the head is ripped off.[189] In Jack Finney's time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role.[190] Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979,

text: Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted [E]arth—giants have uprooted it, aliens have found it curious ... the symbol of Liberty, of optimism, has become a symbol of science fiction's pessimistic view of the future.[191]


document_title: The Grim Adventures of Billy & Mandy

question_text: who is the voice of grim from billy and mandy

root

text: The Grim Adventures of Billy & Mandy

text: Premise[edit]

text: The series is centered around the exploits of Billy (voiced by Richard Steven Horvitz), a dimwitted and happy-go-lucky boy; Mandy (Grey DeLisle), a cynical and merciless girl, and Grim (Greg Eagles), the Grim Reaper who is often tormented by the duo. After cheating at a limbo match against Grim (in retaliation for putting the limbo rod too low for them to go under), he is enslaved in a permanently unwanted friendship with the children.[2] Grim is miserable in the first days of his servitude, and even fantasizes about killing them multiple times. However, as the time passes, he gradually adapts to the new life, and even grows to care for Billy and Mandy, if only somewhat. Despite this, he retains a love-hate relationship with the two and desires to eventually break free from his servitude.

tag: p

text: Billy and Mandy use Grim's supernatural abilities and powers to venture into supernatural locations or environments, such as the Underworld, or the Netherworld, inhabited by an assortment of grotesque monstrous beasts. The pair also use Grim's enormously strong supernatural abilities or ties with a number of beastly characters to achieve goals or desires for themselves, often with twisted results. Famed fictional monsters including Dracula, the Wolfman, and the bogeyman are also comically depicted in the series.

text: Supporting characters include Irwin (Vanessa Marshall), a nerdy awkward boy who has a crush on Mandy; Harold (Richard Steven Horvitz), Billy's father who is even dumber than his son; Gladys (Jennifer Hale), Billy's loving yet mentally unstable mother; Mindy (Rachael MacFarlane), the snobby, stuck-up, and spoiled queen bee of Billy and Mandy's school; Sperg (Greg Eagles), the local bully who has a sensitive side; Fred Fredburger (C.H. Greenblatt), a simple-minded, irritating underworld creature who loves frozen yogurt and nachos; Dracula (Phil LaMarr), a selfish elderly vampire who's revealed to be Irwin's paternal grandfather in the final season of the show.

text: The show lacks continuity for the most part, as many episodes end with characters killed, exiled, or stuck in a situation. Characters sometimes display an awareness of some events from previous episodes, but there are no clear character arcs or coherent plot lines tying the show together.

text: History[edit]

text: The series had its genesis in 1996, when Maxwell Atoms, while he was a junior at the University of the Arts in Philadelphia, made a two-minute short film for his junior thesis. Titled Billy and Mandy in: The Trepanation of the Skull and You, it centers around Billy and Mandy (prototype versions) discussing trepanning with each other. In the end, Mandy drills Billy's head, causing him to pass out after too much blood loss even though he says he feels great. The short had never been shown publicly until April 30, 2016, during the first annual Tromanimation Film Festival.[3] After the screening, Atoms uploaded the film, albeit in a deteriorating state after years of storage, on his YouTube channel.

text: The show's existence is the result of a viewer poll event by way of telephone and the Internet called Cartoon Network's Big Pick which was held from June 16 to August 25, 2000.[4] The three final choices were Grim and Evil (later splitting into two separate series: The Grim Adventures of Billy and Mandy and Evil Con Carne), Whatever Happened to... Robot Jones? and Longhair and Doubledome.[4] Out of the three, Grim and Evil attained the most votes with 57%; Robot Jones came in second place at 23% while Longhair and Doubledome received 20% of the vote.[4][5]

text: Originally part of Grim & Evil, Billy & Mandy served as the main show. In each episode, an Evil Con Carne short was put between two Grim shorts.[4] On occasion, it was the other way around, with two Evil shorts and one Grim short. The series premiered on August 24, 2001, during the Cartoon Cartoon Fridays Big Pick Weekend.

text: On June 13, 2003, the network separated the two and gave each their own full-length program. The short-lived Evil Con Carne show was cancelled once the already-produced season had aired. Some characters from Evil Con Carne occasionally appeared on The Grim Adventures of Billy & Mandy. General Skarr become an official character on the show in the episode "Skarred for Life", where he becomes Billy's new next-door neighbor, and in "Company Halt", the ninth episode of the final season which functions as the true series finale for Evil Con Carne, Ghastly, Hector, Boskov, and Stomach restart their evil organization and convince Skarr to join them, but their plans are ultimately foiled by Billy and Mandy, and Skarr goes back to living his life as a normal person.

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
23
August 24, 2001
October 31, 2003

2
8
June 11, 2004
July 30, 2004

3
13
October 1, 2004
June 10, 2005

4
14
June 17, 2005
December 2, 2005

5
13
January 6, 2006
August 9, 2006

6
11
October 6, 2006
November 9, 2007

M&S
4
March 30, 2007 (2007-03-30)
October 12, 2008 (2008-10-12)

tag: table

text: Reception[edit]

text: The Grim Adventures of Billy & Mandy received critical acclaim and became one of Cartoon Network's top rated and most popular series. Common Sense Media gave the show a 3/5 star rating and stated that it has "goofy punchlines and obscure cultural references", and recommends the viewer age be at least 8 years old.[6] The series has won one Annie Award, two Emmy Awards and including those three wins, has been nominated a total of nine times for various awards. New episodes were broadcast on Cartoon Network Fridays at 7:30pm to over 1 million viewers an episode.

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result

2002
Golden Reel Awards
Best Sound Editing in Television Animation[7]
Glenn Oyabe, Jesse Aruda, and Rob Desales
for "The Smell of Vengeance: Pt. 1 & 2/Fiend is Like Friend Without the "R""
Nominated

2003
2004

Best Sound Editing in Television Animation – Music[7]
Glenn Oyabe
for "Little Rock of Horror/The Pie Who Loved Me/Dream a Little Dream/Billy and Mandy's Jacked-Up Halloween"
Nominated

2005
Best Sound Editing in Television Animation[7]
Glenn Oyabe, Jesse Aruda, Erik Sequeira, and Cecil Broughton
for "Super Zero/Sickly Sweet"
Nominated

Annie Awards
Directing in an Animated Television Production[8]
Brian Sheesley
for "Nursery Crimes"
Nominated

Shaun Cashman and Phil Cummings
for "Attack of the Clowns"
Won

2006
Annie Awards
Directing in an Animated Television Production[9]
Shaun Cashman
for "Hill Billy"
Nominated

Emmy Awards
Outstanding Individual Achievement in Animation[10]
Michael Diederich
Won

2007
Outstanding Individual Achievement in Animation[11]
Phil Rynda
for Billy & Mandy's Big Boogey Adventure
Won

Daytime Emmy Awards
Broadband-Children's[12]
The Grim Adventures of Billy & Mandy
Nominated

text: Media[edit]

text: TV movies[edit]

text: Three TV movies were made for the series. The first one was called Billy & Mandy's Big Boogey Adventure and was released on DVD in April, 2007.[13] Common Sense Media gave the movie 2/5 stars and is meant for kids over the age of 8 calling it "undeniably gross and just as undeniably funny".[14] DVDverdict.com gave the movie a good review as well.[15]

text: A second movie, Wrath of the Spider Queen, was also released in 2007. It was based on a spider queen from Grim's distant past, who tries to take revenge on him because she was meant to be the reaper. Meanwhile, keeping up with the spider theme, Billy learns to love his spider son Jeff.[16]

text: On October 12, 2008, a third and final spin-off movie, titled Underfist: Halloween Bash, premiered. The movie's primary focus is on Irwin, Jeff the Spider, Hoss Delgado, General Skarr, and Fred Fredburger accidentally coming together to defeat an invasion of chocolate bar monsters, led by an evil marshmallow bunny, on Halloween night.[17]

text: Music[edit]

text: The score composers for the series are Gregory Hinde, Drew Neumann and Guy Moon.[18][19][20] In addition, two songs were made for the show by Aurelio Voltaire, the episode "Little Rock of Horrors", which parodies the musical Little Shop of Horrors, features a song titled "BRAINS!"[21][22] and, in Billy & Mandy's Big Boogey Adventure, the song "Land of the Dead" is played in the opening credits.[23] Both songs are a part of the album Spooky Songs For Creepy Kids.[21] The season two episode "Battle of the Bands" also featured the song "Darkness" by metal band SPF 1000. There was also an instance at the end of the Christmas special entitled "Billy & Mandy Save Christmas", where the end credits music is the song "Round and Round" by heavy metal band Ratt.

text: Video game[edit]

text: A video game inspired by the series was developed by Midway Games, and released on October 2, 2006,.[24] It is a 3D fighting game. The video game received fair to good reviews: GameSpot gave it a 6.6/10 by Greg Mueller, he goes on to say that while it is fun for the "first few hours" and has "Fast-paced gameplay" the game action "gets old quickly" and has a very short story mode.[25] IGN gave the game a good score of 7.2/10 highlighting its presentation and appeal.[26] Metacritic gave the game a rating of 61/100 based on 10 critic reviews.[27]

text: In other countries[edit]

text:
Italy - "Le Tenebrose Avventure di Billy e Mandy"
India - "बिली मैंडी और जीवन में हादी" (1st dub) and "हद्दी मेरा बडी" (2nd dub)
Mexico - "Las Sombrías Aventuras de Billy y Mandy"
Spain - "Las macabras aventuras de Billy y Mandy"
Portugal - "As Aventuras Assustadoras de Billy e Mandy"
Brazil - "As Terríveis Aventuras de Billy e Mandy"
Hungary - "Billy és Mandy kalandjai a kaszással"
Germany - "Die gruseligen Abenteuer von Billy und Mandy"
France - "Billy et Mandy, aventuriers de l'au-delà"
Netherlands - "De Grimmige Avonturen van Billy en Mandy"
Russia - "Ужасные приключения Билли и Мэнди"
Japan -"ビリー&マンディ"
Greece - "Οι Grim περιπέτειες του Billy και του Mandy"
Sweden - "Grymma sagor med Billy och Mandy"
China - "愛酷一族"
Finland - "Billy ja Mandyn harhaiset seikkailut"
Denmark - "Grumme eventyr med Billy og Mandy"
Norway - "Skumle eventyr med Billy og Randi"
Israel - "ההרפתקאות של בילי ומנדי"
Thailand - "การผจญภัยของบิลลี่และแมนดี้"
Bulgaria - "Мрачните приключения на Били и Манди"
Romania - "Negrele aventuri ale lui Billy și Mandy"
Poland - "Mroczne przygody Billy’ego i Mandy"

tag: ul


document_title: Good Times

question_text: who did janet jackson play on good times

text: Good Times

text: Synopsis[edit]

text: Florida and James Evans and their three children live at 921 N. Gilbert Ave., apartment 17C, in a housing project in a poor, black neighborhood in inner-city Chicago. The project is unnamed on the show, but is implicitly the infamous Cabrini–Green projects, shown in the opening and closing credits.[1][2] Florida and James have three children: James Jr., also known as "J.J."; Thelma; and Michael, called "the militant midget" by his father due to his passionate activism. When the series begins, J.J. is seventeen years old, Thelma is sixteen, and Michael is eleven. Their exuberant neighbor, and Florida's best friend, is Willona Woods, a recent divorcée who works at a boutique. Their building superintendent is Nathan Bookman (seasons 2–6), who James, Willona and later J.J. refer to as "Buffalo Butt", or, even more derisively, "Booger".

text: The characters originated on the sitcom Maude as Florida and Henry Evans, with Florida employed as Maude Findlay's housekeeper in Tuckahoe, New York, and Henry employed as a New York City firefighter. When producers decided to feature the Florida character in her own show, they changed the characters' history to fit a new series that was well into development rather than start from scratch to create a consistent starring vehicle. Henry's name became James, he worked various odd jobs, there was no mention of Maude, and the couple lived in Chicago.[3]

text: Episodes of Good Times deal with the characters' attempts to overcome poverty living in a high rise project building in Chicago. James Evans often works at least two jobs, mostly manual labor such as dishwasher, construction laborer, etc. Often he is unemployed, but he is a proud man who will not accept charity. When he has to, he hustles money playing pool, although Florida disapproves of this.

text: Cast conflicts[edit]

text: Good Times was intended to be a good show for Esther Rolle and John Amos. Both expected the show to deal with serious topics in a comedic way while providing positive characters for viewers to identify with.

text: However, Jimmie Walker's character of J.J. was an immediate hit with audiences and became the breakout character of the series. J.J.'s frequent use of the expression "Dy-no-mite!" (often in the phrase "Kid Dy-no-mite!"), credited to director John Rich, became a popular catchphrase (later included in TV Land's The 100 Greatest TV Quotes and Catch Phrases special).[4] Rich insisted Walker say it in every episode. Walker and executive producer Norman Lear were skeptical of the idea, but the phrase and the J.J. Evans character caught on with the audience.[5] As a result of the character's popularity, the writers focused more on J.J.'s comedic antics instead of serious issues.

text: Through seasons two and three, Rolle and Amos grew increasingly disillusioned with the direction of the show and especially with J.J.'s antics and stereotypically buffoonish behavior.[6] Rolle was vocal about her hate of his character. In a 1975 interview with Ebony magazine she stated:

text: He's 18 and he doesn't work. He can't read or write. He doesn't think. The show didn't start out to be that...Little by little—with the help of the artist, I suppose, because they couldn't do that to me—they have made J.J. more stupid and enlarged the role. Negative images have been slipped in on us through the character of the oldest child.[7]

text: Although doing so less publicly, Amos also was outspoken about his dissatisfaction with the J.J. character. Amos stated:

text: The writers would prefer to put a chicken hat on J.J. and have him prance around saying "DY-NO-MITE", and that way they could waste a few minutes and not have to write meaningful dialogue.[8]

text: While Amos was less public with his dissatisfaction, he was ultimately fired after season three due to disagreements with Norman Lear. Amos' departure was initially attributed to his desire to focus on a film career, but he admitted in a 1976 interview that Lear called him and told him that his contract option with the show was not being renewed. Amos stated, "That's the same thing as being fired."[9] The producers decided not to recast the character of James Evans, instead opting to kill off the character in the two-part season four episode, "The Big Move".[10][11]

text: Final seasons[edit]

text: By the end of season four, Esther Rolle had also become dissatisfied with the show's direction and decided to leave the series. In the final two episodes of the season, "Love Has a Spot On His Lung", Rolle's character gets engaged to Carl Dixon (Moses Gunn), a man she began dating toward the end of season four. In the season five premiere episode, it is revealed that Florida and Carl married off screen and moved to Arizona for the sake of Carl's health.[12]

text: With Amos and Rolle gone, Ja'net Dubois took over as the lead character, as Willona checked in on the Evans children since they were now living alone.[2][13] In season five Janet Jackson joined the cast, playing Penny Gordon Woods, an abused girl who is abandoned by her mother and eventually adopted by Willona.[12]

text: Before taping of season six began, CBS and the show's producers decided that they had to do "something drastic" to increase viewership. According to then-vice president of CBS programming Steve Mills, "We had lost the essence of the show. Without parental guidance the show slipped. Everything told us that: our mail, our phone calls, our research. We felt we had to go back to basics."[12]

text: Producers approached Esther Rolle with an offer to appear in a guest role on the series. Rolle was initially hesitant but when producers agreed to a number of her demands (including an increased salary and higher quality scripts), she agreed to return to the series on a full-time basis. Rolle also wanted producers to make the character of J.J. more responsible, as she felt the character was a poor role model for black American youths. She also requested that producers write out the character of Carl Dixon; Rolle reportedly disliked the storyline surrounding the Carl Dixon character, as she believed Florida would not have moved on so quickly after James' death or leave her children. Rolle also thought the writers had disregarded Florida's devout Christian beliefs by having her fall for and marry Carl, who was an atheist.[12][14]

text: In the season six premiere episode "Florida's Homecoming: Part 1", Florida returns from Arizona without Carl to attend Thelma's upcoming wedding to professional football player Keith Anderson (Ben Powers, who joined the cast for the final season). In a rare uncut version of "Florida's Homecoming: Part 2", after Florida arrives home from Arizona, Willona briefly pulls her aside and mentions Carl, to which Florida sadly smiles and shakes her head implying that Carl had died from cancer. Florida later mentions Carl one last time when she tells Michael about a book they'd both bought him.[3] Despite changes in the series at Esther Rolle's request and her return, ratings did not improve and CBS canceled the series during the 1978–79 season.[15][16]

text: In the series finale, "The End of the Rainbow", each character finally gets a "happy ending." J.J. gets his big break as an artist for a comic book company with his newly created character, DynoWoman, which is based on Thelma (much to her surprise and delight), and is moving into an apartment with some lady friends. Michael attends college and moves into an on-campus dorm. Keith's bad knee heals due to his exercise and own physical therapy, leading to the Chicago Bears offering him a contract to play football. Keith announces that he and Thelma are moving into a luxury apartment in the city's upscale Gold Coast district. Thelma also announces that she is pregnant with the couple's first child. Keith offers Florida the chance to move in with them so she can help Thelma with the new baby. Willona becomes the head buyer of the boutique she works in and announces that she and Penny are also moving out of the projects. Willona then reveals that her new apartment is in the same apartment building that Keith, Thelma and Florida are moving to; once again, she and Penny become the Evans' downstairs neighbors.[16]

text: Cast and characters[edit]

text: Main[edit]

text:
Actor
Character
Seasons

1
2
3
4
5
6

Esther Rolle
Florida Evans
Main

Main

John Amos
James Evans
Main

Ja'net Dubois
Willona Woods
Main

Jimmie Walker
James "J.J." Evans, Jr.
Main

Ralph Carter
Michael Evans
Main

Bern Nadette Stanis*
Thelma Evans Anderson
Main

Johnny Brown
Nathan Bookman

Recurring
Main

Janet Jackson
Millicent "Penny" Gordon Woods

Main

Ben Powers
Keith Anderson

Main

*Bern Nadette Stanis was credited as "Bern Nadette" during early episodes of season one, and later as "Bernnadette Stanis."

text: Minor characters[edit]

text:
Ned the Wino (Raymond Allen) is the local drunk who frequents the neighborhood and the apartment building where the Evans family reside. In the season one episode "Black Jesus", J.J. uses Ned the Wino as the model for a portrait of Jesus. Another episode is centered on Michael's plan to "clean up" Ned and get him off the booze by letting him stay at the Evans' house.
Carl Dixon (Moses Gunn) is an atheist shop owner who Michael briefly works for. Despite their religious differences, Carl and Florida begin dating and become engaged in the final episode of season four. Carl breaks off the engagement after he is diagnosed with lung cancer. After a talk from Bookman, Carl again asks Florida for her hand in marriage. The two marry off-screen and move to Arizona. Florida returns at the beginning of season six, without Carl, for Thelma's wedding. Carl is referenced briefly in episode two of season six, but he is never mentioned again (Florida continues to use the surname Evans instead of Dixon). (Esther Rolle decided to come back to the show if the character was written out.) Florida then revealed he died from his battle of lung cancer.
Marion "Sweet Daddy" Williams (Theodore Wilson) is a menacing neighborhood numbers runner and pimp, who has a reputation for wearing flashy clothing and jewelry. He is usually accompanied by bodyguards (one portrayed by Bubba Smith, the other by series painter Ernie Barnes) and comes across as cool and threatening, but has shown a soft heart on occasion, particularly when he decided not to take an antique locket (to settle a debt) that Florida had given to Thelma because it had reminded him of his late mother. (Wilson also plays a club owner named Stanley in the season four episode, "The Comedian and the Loan Sharks").
Alderman Fred C. Davis (Albert Reed, Jr.) is a local politician with a slightly shady disposition whom the Evans generally despise. Spoofing President Richard M. Nixon, he would state in a speech "I am not a crook." He frequently relies on the support of the Evans family (his "favorite project family") for reelection or support and resorts to threats of eviction to secure their support. In a running joke, Alderman Davis frequently forgets Willona's name and calls her another similar-sounding name that began with a "W" (such as Wilhemina, Winnifrieda, Winsomnium, Wyomia and even Waldorf-Astoria), thus earning him her everlasting ire as well as the nickname "Baldy".
Lenny (Dap 'Sugar' Willie) is a neighborhood hustler and peddler who tries to sell presumably stolen items that are usually attached to the lining of his fur coat. He usually approaches people with a laid-back rap and a rhyme ("my name is Len-nay, if I ain't got it, there ain't an-nay"). He is typically rebuffed by the people he approaches and responds by saying "that's cold" or uses a small brush to "brush off" the negativity.
"Grandpa" Henry Evans (Richard Ward) is James' long lost father. He abandoned the family years before because he was ashamed that he could not do more to provide for them. This hurt James deeply, who disregarded his father's existence, telling everyone he was dead. Thelma learns about her grandfather while doing some family research. She meets him and invites him to the Evans' home to surprise James for his birthday, not knowing that James was well aware of his whereabouts but chose to stay out of his life. After Henry arrives at the Evans home and meets the rest of the family, he realizes that James would not welcome him in the home and decides to leave. Florida convinces him to stay and talk to James and explains that there may never be another chance to do so. Henry and James have a heart-to-heart talk, with Henry being remorseful and apologetic. James ultimately forgives his father. After James' death, the Evans family embraces Henry into the family, alongside his common law (and eventually legal) wife Lena in later episodes.
Wanda (Helen Martin) is another resident in the apartment building where the Evans reside. Earlier episodes show her at a women's support group, and the tenants rallying around her by giving her a rent party. Later episodes show her appearing and crying at several funerals, whether she knew the person or not, thus earning her the nickname "Weeping Wanda" from J.J. and Willona.
Mrs. Lynnetta Gordon (Chip Fields) is Penny's abusive biological mother. Her first appearance is in the four part Fifth season opening episode, "The Evans Get Involved". Penny's father abandoned Mrs. Gordon when she became pregnant. As a result, she takes her anger and frustrations out on Penny, including burning her with a hot iron. After the abuse is finally brought to light, (during which Mrs. Gordon gets into a shouting match with Willona and Thelma) she abandons Penny, despite Willona and Thelma's pleas to her to seek help. Just before she disappears, Mrs. Gordon expresses regret for hurting her child, telling Willona that Penny deserves better than her. This clears the way for Willona to adopt Penny. She reappears more than a year later, in the sixth-season episode, "A Matter of Mothers", having remarried, and reveals that her new husband is from a very wealthy family. Mrs. Gordon uses her husband's wealth to send Penny anonymous gifts and, in an effort to regain custody of Penny, she also attempts to frame Willona as an unfit adoptive parent who throws wild parties with less than wholesome attendees. However, her scheme is exposed by being recorded on tape admitting that the scheme was a set up to get Penny back. After trying to get the tape from Penny and threatening her again with physical abuse (which is stopped by Willona), Penny outright rejects Mrs. Gordon, telling her birth mother that no matter what anyone says, she would always consider Willona to be her real mother. Mrs. Gordon is devastated by this, agrees to drop the charges against Willona and leaves Penny with her, never to be seen again.
Cleatus (Jack Baker) is a cousin of J.J. Evans, Thelma Evans Anderson, and Michael Evans and nephew of Florida Evans and James Evans. He made one appearance in the episode "Cousin Cleatus".
Violet Bookman (Marilyn Coleman) is the wife of Bookman (episodes: "Bye, Bye Bookman" and "Willona, the Other Woman" in season 5).

text: Notable guest stars[edit]

text:
Debbie Allen as J.J.'s drug-addicted fiancée, Diana in "J.J.'s Fiancee (Parts 1 & 2)" (season 3)
Matthew "Stymie" Beard (former Our Gang child actor) in five episodes, including four appearances as James' friend Monty
Sorrell Booke as Mr. Galbraith, J.J.'s boss at the ad agency (season 5, episode 17)
Roscoe Lee Browne as a shady televangelist Reverend Sam "the Happiness Man", who befriended James in the military (season 1, episode 4)
T. K. Carter as J.J.'s friend "Head" (part of the "Awesome Foursome", later the "Gleesome Threesome", the "Gruesome Twosome" and the "Lonesome Onesome", as stated in the episode "The New Car"
Rosalind Cash as Thelma's teacher, Jessica Bishop, who becomes romantically involved with a much younger J.J. (season 4, episode 3)
Judith Cohen as herself in the episode "The Judy Cohen Story" (season 4, episode 12)
Gary Coleman as Gary, a sharp-tongued classmate of Penny's in two season five episodes
Conchata Ferrell as Miss Johnson, Willona's supervisor at her short-lived second job as security in a department store (season 5, episode 6)
Kim Fields (real-life daughter of Chip Fields) as Penny's friend, Kim, who has a tendency to add the suffix "-ness" to emphasize her anxiety such as "hopelessnessness" (2 season 6 episodes)
Carl Franklin as Larry, Thelma's fiancé', ultimately breaking up when Larry is offered a job on the West Coast and Thelma is not ready to accompany him (2 episodes)
Alice Ghostley as Ms Dobbs, a social worker who is working on Penny being adopted by Willona (3 episodes)
Ron Glass as Michael's elementary school principal (2.4); also made an appearance as a blind encyclopedia salesman who tries to swindle the Evans family (2.8)
Louis Gossett, Jr., in season two as Thelma's older boyfriend, which Florida and James object to their relationship because of the age difference (2.6); also appears as Uncle Wilbert (Florida's brother), who comes from Detroit to look in on the family while James is away (3.8)
Robert Guillaume as Fishbone the wino in the episode "Requiem for a Wino" (season 5, episode 11)
Phillip Baker Hall as Motel Owner in the episode "J.J.'s Fiancee (Part 2)" (season 3, episode 18)
Shirley Hemphill as "Roz", the dimwitted sister of Edna, who was being tutored by Thelma (season 4, episode 10)
Gordon Jump as Mr. Rogers, the head of security at Willona's short-lived second job as security in a department store (season 5, episode 6)
Paula Kelly as Dr. Kelly in the episode "Where Have All The Doctors Gone" (season 6, episode 17)
Jay Leno as "Young Man" in the season three's "J.J. in Trouble", which was one of the first times that the subject of "VD" (STD) was addressed on a primetime series
Calvin Lockhart as Florida's cousin Raymond, who earned his riches by betting on horses (season 6, episode 23)
Don Marshall as FBI Agent Lloyd in the episode " The Investigation" (season 3, episode 20).
Paul Mooney as "The Second Guy" in the episode "J.J. and T.C." (season 6)
Debbi Morgan as Samantha, a date of J.J.'s (3.23); and as Ellen (4.18)
J. A. Preston as Walter Ingles in the episode "Wilona's Dilemma" (season 3, episode 10)
Charlotte Rae as a hiring manager for a sales job that Florida stole from James (season 2, episode 14)
Sheryl Lee Ralph as Vanessa in the episode "J.J. and The Plumber's Helper" (season 6, episode 9)
Bubba Smith as Claude, a bodyguard/thug working for Marion "Sweet Daddy" Williams (4 season 6 episodes)
Thalmus Rasulala as Ernie Harris, a childhood friend of James with a gambling problem (season 3, episode 20)
Philip Michael Thomas as Eddie, Thelma's college-age boyfriend (season 1, episode 6)
Adam Wade as successful businessman Frank Mason, Willona's boyfriend (2 season 5 episodes)
Vernee Watson-Johnson as Thelma's friend and college mate Valerie, in the episode "Thelma's African Romance (Part 1)" (season 4)
Carl Weathers as Calvin Brooks, husband of the 'nude' model for J.J.'s painting (season 2, episode 16)
Hal Williams as one of the movers in a season one episode; James' friend, Willie Washington (season 2); and Mr. Mitchell, the father of Earl Mitchell, who is an art student of J.J.'s (season 6)
John Witherspoon as Officer Lawson in the episode "A Matter of Mothers" (season 6, episode 20)

text: Production notes[edit]

text: Good Times was created by Eric Monte and actor Mike Evans. The series also features a character named "Michael Evans", after co-creator Mike Evans who portrayed Lionel Jefferson on the Norman Lear-produced series All in the Family and The Jeffersons.[17]

text: Theme song and opening sequence[edit]

text: The gospel-styled theme song was composed by Dave Grusin with lyrics written by Alan and Marilyn Bergman. It was sung by Jim Gilstrap and Motown singer Blinky Williams with a gospel choir providing background vocals.

text: The lyrics to the theme song are notorious for being hard to discern, notably the line "Hangin' in a chow line"/"Hangin' in and jivin'" (depending on the source used). Dave Chappelle used this part of the lyrics as a quiz in his "I Know Black People" skit on Chappelle's Show in which the former was claimed as the answer.[18] The insert for the Season One DVD box set has the lyric as "Hangin' in a chow line". However, the Bergmans confirmed that the lyric is actually "Hangin' in and jivin'."[18] Slightly different lyrics were used for the closing credits, with the song beginning on a verse instead of the chorus.

text: Episodes[edit]

text: Reception[edit]

text: Ratings[edit]

text: The program premiered in February 1974; high ratings led CBS to renew the program for the 1974–75 season, as it was the seventeenth-highest-rated program that year. During its first full season on the air, 1974–75, the show was the seventh-highest-rated program in the Nielsen ratings, with more than 25% of all American households tuning into an episode each week. Three of the top ten highest-rated programs on American TV that season centered on the lives of African-Americans: Sanford and Son, The Jeffersons, and Good Times.

text: The Nielsen ratings for the series declined over time, partly because of its many time slot changes and the departure of John Amos.[19] The ratings went down considerably when the show entered its final two seasons:

text:
Season
TV Season
No. of Episodes
Time slot (ET)
Nielsen ratings[20]

Rank
Rating

1
1973–1974
13
Friday at 8:30 pm
17
21.4 (Tied with Barnaby Jones)

2
1974–1975
24
Tuesday at 8:00 pm
7
25.8

3
1975–1976
24
24
21.0

4
1976–1977
24
Wednesday at 8:00 pm (Episodes 1-15, 17-24)
Wednesday at 8:30 pm (Episode 16)
26
20.5

5
1977–1978
24
Wednesday at 8:00 pm (Episodes 1, 3-16)
Wednesday at 8:30 pm (Episode 2)
Monday at 8:00 pm (Episodes 17-24)
53 [21]
N/A

6
1978–1979
22
Saturday at 8:00 pm (Episode 1)
Saturday at 8:30 pm (Episodes 2-10)
Wednesday at 8:30 pm (Episodes 11-22)
83 [21]
14.4 [21]

text: Awards and nominations[edit]

text:
Year
Association
Category
Recipient(s) / work
Result

1974
Golden Globe Awards
Best Supporting Actor – Television
Jimmie Walker
Nominated

1975
Best TV Actress – Musical/Comedy
Esther Rolle
Nominated

Best Supporting Actor – Television
Jimmie Walker
Nominated

Humanitas Prize
30 Minute Category
John Baskin and Roger Shulman / episode: "The Lunch Money Ripoff"
Nominated

30 Minute Category
Bob Peete / episode: "My Girl Henrietta"
Nominated

2006
TV Land Awards
Impact Award
John Amos, Ralph Carter, Ja'net DuBois, Esther Rolle (posthumously), BernNadette Stanis, and Jimmie Walker
Won

text: Syndication[edit]

text: The cable network TV One aired reruns of the show since its launch on January 19, 2004 until 2012. The network began airing the series again in June 2013. Good Times has also aired at various times on TV Land, Antenna TV and on the Canadian specialty cable channel DejaView. Minisodes of the show are available for free on Crackle.

text: DVD releases[edit]

text: Sony Pictures Home Entertainment released the entire series on DVD in Region 1 between February 2003 and August 2006, with a complete box set following the separate seasons on October 28, 2008. Season 1 was released on DVD in Region 4 on December 27, 2006.

text: On August 27, 2013, it was announced that Mill Creek Entertainment had acquired the rights to various television series from the Sony Pictures library including Good Times.[22] They have subsequently re-released the first four seasons on DVD.[23][24]

text: On September 1, 2015, Mill Creek Entertainment re-release Good Times- The Complete Series on DVD in Region 1.[25]

text:
DVD name
Ep #
Release date

The Complete First Season
13
February 4, 2003
January 21, 2014 (re-release)

The Complete Second Season
24
February 3, 2004
January 21, 2014 (re-release)

The Complete Third Season
24
August 10, 2004
May 20, 2014 (re-release)

The Complete Fourth Season
24
February 15, 2005
May 20, 2014 (re-release)

The Complete Fifth Season
24
August 23, 2005

The Complete Sixth and Final Season
24
August 1, 2006

The Complete Series
133
October 28, 2008
September 1, 2015 (re-release)


document_title: Harley-Davidson Twin Cam engine

question_text: when did harley come out with the 103

question_tokens: when did harley come out with the 103

text: Harley-Davidson Twin Cam engine

text: 88B and 96B Engines[edit]

text: The Twin Cam initially was not used in the Softail model family before the year 2000. This was due to the chassis design and vibration transfer to the Softail frame as a result of the direct (hard) mounting of the engine. Dyna models are "rubber mounted", damping the majority of vibration transfer to the frame and rider. Another reason was that the engine and transmission on a Twin Cam are directly bolted (but are still separate units) to each other, with the chassis seat post on a Softail getting in the way of a Twin Cam transmission case. As the company determined that a rubber-mounted Softail would affect the line's visual styling, Harley solved the issue by designing an engine variant known as Twin Cam 88B.[4][5] It is basically the same engine as the original (now retroactively referred to by enthusiasts as "Twin Cam 88A"), but with a modified engine block design that incorporates twin chain-driven balance shafts.[6] The Twin Cam 96B engine was released at the same time as the Twin Cam 96A model, for the 2007 model year, and was equipped on all Softail models until it was replaced by the 103 ci version.[7]

text: It is possible, however, to mount a regular Twin Cam motor to a pre-2000 Softail (or any chassis that accepts an Evolution engine), through third-party adapters.[5][8]

text: Differences from predecessor (Evolution engine)[edit]

text: The engine design differed considerably from its predecessor the "Evo" although it shared some design elements with the Sportster line. The 88 represents the displacement in cubic inches of the standard engine. The bore is 95.3 mm (3.75 in) and the stroke is 101.6 mm (4.00 in), meaning the displacement is 88 cu in (1,450 cc). The Twin Cam 96 displaces 96.7 cu in (1,584 cc). The company released 103 cu in (1,690 cc) for 2010 Electra Glide Ultra Limited models, and later for 2012 Softail models and 110 cu in (1,801 cc) for Screamin' Eagle/CVO Models.

text:
Change
Evo
Twin Cam

Displacement
82 cu in (1,340 cc)
88 cu in (1,450 cc), 96 cu in (1,584 cc), 103 cu in (1,690 cc), 110 cu. in. (1,801 cc).

Oil pump
External. Connected through a series of gears.
Internal twin-gerotor. Connected directly to the right side pinion shaft. This pump is more efficient, maintains a higher pressure and larger volume.

Cams
Single, with 4 lobes.
One per cylinder, each with 2 lobes. This allows the push rods to be better aligned with the rocker arms.

Cam drive
Gears
Silent chain. This change was reported as necessary to meet EPA noise requirements. Many users installed after market gear driven replacements to increase timing accuracy.[9]

Transmission attachment
Displaced from motor
Transmission casing is attached directly to the engine.

Oil tank
Usually surrounds battery box under the seat.
Below and behind the transmission assembly (except Softails, which are same as noted for the Evo)

Combustion chamber
"D" shape
"Bathtub" shape. Allowed for more efficient combustion and has higher compression.

Spark firing
Wasted spark (both plugs fire at the same time). The ignition system uses single coil. Plugs are 14 mm (0.55 in).
No wasted spark. The ignition system employs dual coils. Plugs are 12 mm (0.47 in).

Cooling
Air-cooled
Also air-cooled. Increased cooling fin areas and an oil jet that sprays the bottom of the pistons provide additional cooling capability.

text: Development[edit]

text: Development of the Twin Cam started in the early 1990s, as Harley sought to address problems affecting the previous Evolution engine, particularly structural weaknesses within the crankcase, oil circulation and leakages.[10] While aftermarket firms such as S&S Cycle previously responded with stronger crankcase components for high-performance Evolutions, Harley went for a completely new design, while keeping the engine fundamentally and aesthetically similar to the traditional 45-degree, air-cooled overhead valve V-twin.[2]

text: The Twin Cam only shared 18 parts with its predecessor, as almost all of the components were unique to the engine. As the name implies, the engine uses two chain-driven cams, to comply with EPA noise regulations. The drivetrain was reinforced through a mounting scheme called the "Revised Rear Interface", allowing the transmission case to be mounted directly to the rear of the engine, with the primary drive and clutch covers playing less of a structural role; this was also partly the reason for Softails not initially receiving a Twin Cam for the 1999 model year.[10]

text: The early prototype Twin Cam engines had considerable trouble with the oiling system. These problems delayed release of the engine as scheduled for the 1997 model year. When the engines were run, oil came out any gasketed joint as well as the breather.[10] Harley sought the help of Paul Troxler, a young engineer from Southwest Research Institute and eventually the problem was traced to a design which drained the cam case into the crankcase, and used a single scavenge pump. Due to airflow through ports in the crankcase wall, the cam case was not draining properly. After much testing, the solution was to seal the cam case from the crankcase and use a dual scavenge system, which was incorporated into the engine, rather than as an outboard pump as used on older Big Twins since the original Knucklehead. However, oil was still not scavenging properly from the crankcase, and this was traced to an acoustic phenomenon due to the caliber of the scavenge inlet. Restricting the diameter of the inlet, a counter-intuitive solution, solved that problem.[11]